In E. S. Dallas' work, The Gay Science, the chapter "The Secrecy of Art" eloquently describes the struggle for Victorian poets to find their niche in a rapidly changing social and literary atmosphere. The excerpt focuses on the Romantic ideal "that art is the opposite of science, and that, as the object of science is knowledge, so that of art is pleasure" (Dallas 1326). This struggle to find a common ground between the traditional views of art for art's sake and the new goals to teach and guide the Victorian readers directly corresponds to the same societal conflict between traditional values and a progressive, newly educated society.
The people of Victorian England had a constant battle between clinging to the traditional societal norms and moving forward with the ever-changing modern society. The various legislative reform acts, "which contributed importantly to the progress towards a much more diverse and open society, also produced a sharp reaction. After all, what an enormous challenge to the Anglican establishment these reforms represented" (Wohl unpaginated). It was a time of such social upheaval that a rift was created between the two sides of the debate that affected every aspect of the Victorian Period. Science, technology, industrialization, and public education were brand-new concepts that revolutionized the world during this time and changed the literary world in the process. Though the fiction and non-fiction writers of this time tend to lean towards a didactic approach and take advantage of the ease of communication with their audience, the Victorian poets shied away from publishing in periodicals and mass publications so as not to undermine the elevated and artistic nature of poetry that was cultivated during the Romantic period.
It was common in the Victorian period for writers to believe that literature must not only entertain but also take on some form of didactic commentary, whether it be social or moral teachings. This directly contradicts the Romantic view that poetry so tightly clung to over the decades. The Art for art's sake movement 'usually meant that art should avoid social, political, and moral themes and concentrate instead on creating beauty, so it really meant "art for the sake of beauty and its elevating effects."' (Landlow unpag.). Dallas argues that science and art juxtapose one another. Science is "a perfect grasp of all the facts which lie within the sphere of consciousness" (Dallas 1327); whereas, art and poetry are "a sensible possession or enjoyment of the world beyond consciousness" (Dallas 1327). He states that art is the writers emotions or "the hidden sphere of thought" (Dallas 1327) put into words in an attempt to allow the audience to experience those same emotions. He believes that art must set out to describe the indescribable. Dallas holds the poetic artist to high esteem as he charges them to the task of bringing the sublime to a level of universal understanding. In his eyes, the artist's job "is, by subtle forms, tones, words, allusions, associations to establish a connection with the unconscious hemisphere of the mind, and to make us feel a mysterious energy there in the hidden soul" (Dallas 1328).
Dallas' major interest in this topic stems from his education in philosophy and eclectic psychology at Edinburgh University. Here he began "the habit of applying notions derived from eclectic psychology to the analysis of aesthetic effects in poetry, rhetoric, and the fine arts" (Boase unpag.). Though not a poet himself, Dallas began writing as an anonymous journalist in London. While on the staff of John T. Delane, "[h]e wrote, in careful, graceful English, obituaries—including those of Palmerston, Aberdeen, Derby, Metternich, Thackeray, Hood, Macaulay, Prince Albert, and Leopold I of Belgium, book reviews, and political articles" (Boase unpag.). In 1866, Dallas published The Gay Science (the literary commentary in which "The Secrecy of Art" can be found) "which attempted to discover the source in the constitution of the human mind of the pleasure of poetry" (Boase unpeg.). This topic was too obscure for the general reader at the time, which led to a poorer reception than anticipated (Boase unpag.).
The approach that Dallas takes on this topic from a philosophical and psychological stand point gives a great look into this artistic and societal debate during the Victorian Era. The traditionalists clung to what they had left of the old values, whether that be artistic integrity or a political atmosphere tailored to their hierarchical position, while the liberal population embraced change and an educated general population. Every aspect of Victorian life was effected by this ever-changing environment, including religion which was challenged by the emergence of new scientific information. Poetry, in this sense, was not alone in its attempts to hold on to that past that had worked well for so long. Dallas' attempts to hold art and poetry to a higher standard of literary importance are well expressed in this excerpt and clearly illustrate the struggle to retain some of the Romantic ideals while continuing to move with the new industrialized literary techniques.
Works Cited: Boase, G. C., "Dallas, Eneas Sweetland (1828–1879)", rev. Roger T. Stearn, Oxford Dictionary of National Biography, Oxford University Press, 2004. Web. Accessed February 1, 2015.
Dallas, E.S.. "The Secrecy of Art". The Broadview Anthology of Victorian Poetry and Poetic Theory. Ed. Thomas Collins and Vivienne Rundle. Toronto: Broadview Press Ltd., 2005. Pages 1326-1328.
The people of Victorian England had a constant battle between clinging to the traditional societal norms and moving forward with the ever-changing modern society. The various legislative reform acts, "which contributed importantly to the progress towards a much more diverse and open society, also produced a sharp reaction. After all, what an enormous challenge to the Anglican establishment these reforms represented" (Wohl unpaginated). It was a time of such social upheaval that a rift was created between the two sides of the debate that affected every aspect of the Victorian Period. Science, technology, industrialization, and public education were brand-new concepts that revolutionized the world during this time and changed the literary world in the process. Though the fiction and non-fiction writers of this time tend to lean towards a didactic approach and take advantage of the ease of communication with their audience, the Victorian poets shied away from publishing in periodicals and mass publications so as not to undermine the elevated and artistic nature of poetry that was cultivated during the Romantic period.
It was common in the Victorian period for writers to believe that literature must not only entertain but also take on some form of didactic commentary, whether it be social or moral teachings. This directly contradicts the Romantic view that poetry so tightly clung to over the decades. The Art for art's sake movement 'usually meant that art should avoid social, political, and moral themes and concentrate instead on creating beauty, so it really meant "art for the sake of beauty and its elevating effects."' (Landlow unpag.). Dallas argues that science and art juxtapose one another. Science is "a perfect grasp of all the facts which lie within the sphere of consciousness" (Dallas 1327); whereas, art and poetry are "a sensible possession or enjoyment of the world beyond consciousness" (Dallas 1327). He states that art is the writers emotions or "the hidden sphere of thought" (Dallas 1327) put into words in an attempt to allow the audience to experience those same emotions. He believes that art must set out to describe the indescribable. Dallas holds the poetic artist to high esteem as he charges them to the task of bringing the sublime to a level of universal understanding. In his eyes, the artist's job "is, by subtle forms, tones, words, allusions, associations to establish a connection with the unconscious hemisphere of the mind, and to make us feel a mysterious energy there in the hidden soul" (Dallas 1328).
Dallas' major interest in this topic stems from his education in philosophy and eclectic psychology at Edinburgh University. Here he began "the habit of applying notions derived from eclectic psychology to the analysis of aesthetic effects in poetry, rhetoric, and the fine arts" (Boase unpag.). Though not a poet himself, Dallas began writing as an anonymous journalist in London. While on the staff of John T. Delane, "[h]e wrote, in careful, graceful English, obituaries—including those of Palmerston, Aberdeen, Derby, Metternich, Thackeray, Hood, Macaulay, Prince Albert, and Leopold I of Belgium, book reviews, and political articles" (Boase unpag.). In 1866, Dallas published The Gay Science (the literary commentary in which "The Secrecy of Art" can be found) "which attempted to discover the source in the constitution of the human mind of the pleasure of poetry" (Boase unpeg.). This topic was too obscure for the general reader at the time, which led to a poorer reception than anticipated (Boase unpag.).
The approach that Dallas takes on this topic from a philosophical and psychological stand point gives a great look into this artistic and societal debate during the Victorian Era. The traditionalists clung to what they had left of the old values, whether that be artistic integrity or a political atmosphere tailored to their hierarchical position, while the liberal population embraced change and an educated general population. Every aspect of Victorian life was effected by this ever-changing environment, including religion which was challenged by the emergence of new scientific information. Poetry, in this sense, was not alone in its attempts to hold on to that past that had worked well for so long. Dallas' attempts to hold art and poetry to a higher standard of literary importance are well expressed in this excerpt and clearly illustrate the struggle to retain some of the Romantic ideals while continuing to move with the new industrialized literary techniques.
Works Cited:
Boase, G. C., "Dallas, Eneas Sweetland (1828–1879)", rev. Roger T. Stearn, Oxford Dictionary of National Biography, Oxford University Press, 2004. Web. Accessed February 1, 2015.
Dallas, E.S.. "The Secrecy of Art". The Broadview Anthology of Victorian Poetry and Poetic Theory. Ed. Thomas Collins and Vivienne Rundle. Toronto: Broadview Press Ltd., 2005. Pages 1326-1328.
Landlow, George. "Victorianism as a Fusion of Neoclassical and Romantic Ideas and Attitudes". The Victorian Web. November 2006. Web. Accessed February 1, 2015
Wohl, Anthony. "Liberalism and Culture Shock in the Victorian Age". The Victorian Web. November 2002. Web. Accessed February 1, 2015.